Analysis Of Bach's Four Rhapsody No. II

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Dohnányi was a major Hungarian composer, pianist and conductor of the turn of the 20th century, second only to Bartok in influence in his home country. His compositional output was late Romantic in style and very conservative, largely influenced by Brahms.

He composed the Four Rhapsodies between 1902 and 1903, and dedicated the set to his teacher István Thomán. According to statements he later made to his wife, the Four Rhapsodies can be considered as a sonata in four movements, in which Rhapsody No. 3 in C Major corresponds to the scherzo movement of a sonata.

The piece opens with a series of quick, fiery chords spanning almost the entire range of the piano, followed a by light staccato section in a scherzo style. The mood then changes with a long lyrical section, before fragments of the vigorous rhythmic opening section return and bring the music to a darker section that also echoes the theme of Rhapsody No. 2. The second half of the piece re-uses the melody of the lyrical section, only transposed up by a fourth, which provides a bigger contrast to the previous dark section.

The last section of the piece imitates the lively scherzo style of the beginning and the piece ends with quick chords in the same range heard at the opening.
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3 in A Minor was published in 1727, dedicated to Bach’s second wife, Anna Magdalena. The work opens with a quick-tempo Fantasia — a two-part contrapuntal piece in 3/8 with a melodic line that flows gracefully between the two hands, with inversions and modulations. The lyrical Allemande follows the traditional characteristics of a moderately slow movement in quadruple meter and binary form, and is articulated with turns and mordents. The Italian Corrente that follows it is a lively dance featuring sharply dotted rhythms and sixteenth notes. This is contrasted by the serious and dignified Sarabande, which is serious and dignified, yet lacks the accented second beats commonly used in most sarabandes, making it an unusual

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